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Few teachers would deny that a working familiarity with and appreciation of the sonnet can be invaluable assets for students studying Renaissance English literature. This is not simply because of the âlittle songâsâ ubiquity as both mode and theme in the work of canonized figures from the sixteenth and seventeenth centuries like Sidney, Spenser, Donne, Milton, Wroth, and of course Shakespeare, but also because it can be a gateway to understanding a significant part of Renaissance social conditions, politics, aesthetics, and culture. Fully grasping, for example, the despair in the ending couplet of Wyattâs âMy Galleyâ â âDrowned is reason that should me consort, / And I remain despairing of the portâ â requires among other things a sense of Wyattâs uncertain status as a courtier seeking patronage from the patently unpredictable Henry VIII. Effectively explicating the tortured syntax and troubling similitude in the fortieth sonnet of Wrothâs Pamphilia to Amphilanthus â âFalse hope which feeds but to destroy, and spill / What it first breeds; unnatural to the birth / Of thine own womb; conceiving but to kill, / And plenty gives to make the greater deathâ â demands an understanding of the complicated gender dynamics of
Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture – Duke University Press
Published: Apr 1, 2007
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